Review: Cookie Rabinowitz - Four Eyed Soul

The old adage holds that you can’t judge a book by its cover and, in the case of rising artist Cookie Rabinowitz, that’s doubly true. For, if you were to just glance at Rabinowitz with music in mind, you might be tempted to see his hipster jeans, oversized pimp glasses, and kicking Vans and label him as some sort of electronica wizard. Yet, one listen to the artist’s debut, Four Eyed Soul, and listeners will realize that this is a singer who’s a little less Moby and a lot more Marvin Gaye.

But Rabinowitz didn’t start in the world of soul, R&B, and hip-hop. Rather, the eclectic artist began his journey as “an introspective folk singer with reclusive tendencies.” Yet, when finances became an issue, the artist found himself working at a gentlemen’s club as a DJ where he became entranced with the beat-heavy music and swarthy hooks, drawing him into a new creative space.

Along that journey, Rabinowitz came alongside hip-hop pioneer Schoolly D who helped to mentor the young artist. The tandem worked together with guitarist Erik Horvitz on the animated urban music interview show, The Cookie Rabinowitz Show, which later led to Rabinowitz heading out with Schoolly D and a plethora of other rappers, with Public Enemy among them, on a tour that would change the artist’s trajectory forever.

“The hip-hop community really embraced me. It was eye opening. Schoolly let me do my thing and shine – I was able to sing and play guitar at 3,000 capacity venues,” he recalls. “That inspired me to dive into that world.”

That inspiration and the artist’s creativity collide in full harmony on Four Eyed Soul, a term the artist coined to describe his blend of sounds which borrows the best of the old while bringing it firmly into the future with swells of hip-hop, soul, R&B, as well as rock. And backed by some of Philly’s finest, Rabinowitz steps out and makes some lovely music.

“Sing Alone, Sing Along” gets things off to a killer start, a smooth, funky groove carrying forth the artist’s silky vocals, complete with playful falsetto while he offers up introspective thoughts about the lack of disconnect in a digital age. A rich guitar solo provides some additional color while “Crakka Smile” employs some sweet keyboards and more falsetto to hammer home its message.

“Every St.” lets Rabinowitz’s hip-hop side out a bit, his lyrical flow solid while the arrangement draws from a multiplicity of ranges and is followed by “Life on Mars,” carrying similar tones complete with some sampling and vinyl scratches, providing some bonus texture. Rich funk steps to the forefront on “Pass You By,” vintage guitar effects in use alongside thumping bass notes and bright keyboards while “Text You With My Mouth” lets a persistent beat carry the load as the artist again implicates the age of social media.

“Get Yer Own” is a beat-centric hip-hop jam, a collection of sonic textures merging together while “Blue” hearkens back to 70s soul for a commentary on racial tension. A bit of alternative rock makes its way into the set list with “Underground,” the programmed beats melding with raw guitars and Rabinowitz’s nuanced vocals as “Self Loathing” and “Rock & Roll Karaoke” again bridge the gap between soul, R&B, and hip-hop, the artist again breaking out his falsetto for the high notes.

“More Tired Than Lonely” is an album highlight, solo guitar opening things up as the artist sings of his reluctance to enter into a relationship due to the finger-pointing and baggage he’s experienced, “too tired to take the blame, too tired to hear you told me.” It’s a smooth, simple groove that carries the lyric well and definitely stands out while “Talking to Pigeons” closes things out in fine fashion, another mash up of genres flowing together in sweet success.

Cookie Rabinowitz might not be what you’d expect when you first see him but after you hear him you wouldn’t want anything else. Bridging the gap between multiple urban genres and infusing his own introspective folk leanings, the artist successfully crafts tracks that carry their own sense of soul for a new generation.

Review: BluRum13 - Inverted

New York born, Maryland raised James Sobers has already led a celebrated career. Better known to his fans as BluRum13, Sobers has dazzled crowds with his emcee skills and won peers over with his production talents, crafting two solo albums, rocking the house in over one thousand shows, and working with a plethora of artists ranging from Us3, One Self, Reverse Engineering, Bullfrog, the Russian Percussion, and many, many more. His music has been featured in Cirque du Soleil, CSI, The Family Biz (Canada), and Skins (UK) and he’s had the chance to share the stage with high-caliber artists like Maceo Parker, Herbie Hancock, Phish, KRS1, Public Enemy, and De la Soul.

Exhilarated but weary from his meteoric rise, Sobers made the decision to take some time off and recharge his creative batteries in order to gear up for the new solo album that fans had been clamoring for. That break found the artist culling through the “evolutionary philosophies in Zecharia Sitchin’s The 12th Planet and in the writings and teachings of Lloyd Pye. It’s definitely unique source material (Sitchin and Pye both advocate for the ideas of an extraterrestrial ancestor to mankind) yet it had a profound effect on the already introspective and academic lyricist.

“I learned the thing we have in common with the Creator is the ability to create. So I began looking inward and creating for myself,” he shares of the lessons learned. “Honesty is translatable. I’ve played many non-English-speaking countries where the venue is packed because the crowd gets ‘it,’ even if they don’t fully understand the language.”

That musical honesty and heady focus comes forth loud and proud on the artist’s highly anticipated Inverted, finding Sobers bringing a mélange of textures together with insightful and intelligent flows. Drawing comparisons to artists like Mos Def and Ben Harper and rightly so, Sobers puts all that studying and creative growth to good use, showing the results of his inspiration and experimentation with drum and bass and electronica.

“Kenetic” brings things to a killer start, smooth and rich keyboards setting the stage for Sobers’ tight and fluid rhymes, moving to the chorus point of “We are more than potential” while electronic fills and scratches round out the track, lending energy. “TLO” offers heavy percussion and a Maori-flavored chant, Sobers’ spitting his lyrics frantically while undergirded by a tight bass line underneath as “Strivin’” delivers a lazy, almost dreamy arrangement alongside guest vocals from Abstract Rude.

“Cereal” is another laid back track, a funky bass backbeat pressing things forward while tight live drums keep pace across as “All Day” taps into some old schools vibes, Primo the Cinematic guest starring on a track that’s mostly drums and keyboards. “Mash On” delivers some playful lyrics from Sobers’, providing some needed levity together with touches of electronica while “Vengo” finds the artist taking things cross culturally, a diverse set of sonic textures creating an almost free form jazz feel.

“Warrior Souls” is appropriately moody and darker in tone and “Universal” loosely honors the legendary talent of Michael Jackson, Sobers’ citing Jackson’s timeless elements as inspiration. Those futuristic tones give way to a dreamy set of scratches and samples on “Distortion” while “Still Living” is bright and energetic musically and lyrically close things out on a high note.

BluRum13, while drawing from some unique wells of inspiration, is a thinking man’s artist, crafting lyrics that, quite frankly, may leave a few folks scratching their heads after the first listen. Yet, while he delivers a heady set of rhymes, he also creates great canvases for his lyrics, using the whole palette of musical colors and creating arrangements that are tight and accessible yet still speak of true artistry. Inverted finds the artist turning his music on its head and listeners are all the better for it.

Review: NMERCER - Crossroads EP

It’s the rare individual who finds that a move to South Central in Los Angeles will serve as a creative point of inspiration but for rising artist NMERCER, that’s just what happened.

Originally hailing from Vashon, a small island near Seattle, NMERCER was raised on the expected fare from that region, citing influences like Joan Osborne and Alice in Chains alongside more eclectic choices like the Pharcyde, Beastie Boys, The Doors, Björk, Easy E, NWA, and Too $hort. A move to Los Angeles found her eventually searching out and moving to South Central due to the more affordable rent and stumbling upon a new community of friends and artists.

“For the first time since I moved to LA, I felt like I was part of a community,” she shares. “The guys on the block were all rappers or musical in some way or another. They’d would bring by sick beats and ask me to sing hooks on them.”

Soon, in moments of privacy, NMERCER took to writing her own songs, a new experience for the artist.

“It was the first time I wrote music where I felt like I had a sound and voice. I think it came out real because I made those songs for no one but myself,” she explains.

Those experiences and those songs have fueled a burst of creativity in the artist and she’s released a rapid fire set of releases with her self-titled debut, a remix album, and the Crossroads EP. Those recordings have found her enjoying favorable comparisons to artists like MIA, Missy Elliott, Ke$ha, and Gwen Stefani, and the Crossroads EP gives a good indication why.

Produced by Justin Lassen, who’s done remixes for artists like Nine Inch Nails, Linkin Park, Apocalyptica, and Evanescence, the EP features four songs of NMERCER’s signature style. That style is a combination of hip hop grooves, electro-pop vibes, and plenty of EDR fills, all informed by the artist’s versatile vocals.

The title track kicks things off with plenty of electronic-fueled distortion, kicking programmed drums holding the beat while NMERCER drops her flow, her delivery somewhat slow and dreamy as her vocals mix things up with some added effects. The lyric is an encouraging one, the protagonist of the song standing at a crossroads and making the decision to push ahead and make a change.

“Steal It” keeps the positive vibes rolling as the artist sings, “Move/Dance/Now’s the chance/Go/Hard/Let down that guard/You’re in the spotlight/C’mon, steal it” while surrounded by an electronica-infused sonic backdrop that flows into a full-fledged radio-ready jam. NMERCER’s vocals are in full effect, the swelling music only giving her more energy while “Why U Gotta B So Fine” is something of a disappointment. True, the track does have a Ke$ha feel but after hearing the artist’s solid vocals on the preceding tracks, her nasal delivery and subpar lyricism just leaves one wanting.

Thankfully, NMERCER’s final track “DB” steps in and rights those wrongs. Sultry, sexy vocals and an old school feeling jam, complete with huge bass notes that propel the track forward, buoyed by a bright horn section in the chorus give the track bonus life. Singing of dropping a lover, the artist brings a sense of playfulness to the song, her rhyming legit and infused with a smile.

All in all, NMERCER’s Crossroads EP showcases a young artist who’s bursting at the seams with talent and has the potential to break out into the big time. Granted, there’s still work to be done but with NMERCER’s creative output and her star shining bright, the sky’s the limit for this promising new act.

Review: Jensen Reed - The Left Coast

What’s that? You say you’ve never heard of Jensen Reed? Well, you might be surprised. Because, since his move to The Left Coast, this kid’s steadily been making a name for himself.

The rising artist’s career started humbly in the Tar Heel state of North Carolina when a classmate asked him to duet on the Beastie Boys’ “Pass the Mic” for a talent show. The crowd loved it and so did Reed. He set his sights on the big time and, drawing heavily on the influence of the Beastie Boys, along with bands like The Doors, The Beatles, Led Zeppelin, among others, and set about making music. Eventually, Reed was performing with his college band, Plan B, for crowds of 5,000 in Raleigh-Durham. Yet, the artist soon found himself feeling the need to make a move.

So, in 2007 the budding artist set his sights on Los Angeles. While keeping his day job as a tennis pro, as well as stepping out and getting his real estate license, Reed kept pushing ahead with his musical dreams in the difficult L.A. scene.

“At first it was somewhat intimidating,” he admits. “But then I rocked a couple of shows and it gave me a lot of confidence.”

That confidence has brought Jensen Reed far, seeing him sign a deal with a publishing company and has "had song placements in the lauded series “Friday Night Lights,” Showtime’s “House of Lies”, the Oscar-nominated film “The Messenger” and several MTV and VH1 shows. And with the release of his debut album, The Left Coast, his star is only sure to rise higher.

For, with this release, it’s easy to see what the buzz is all about. Reed carries himself musically in a way that is far beyond his years, crafting quality rock and hip-hop elements together into a mélange of power and poise. Underlying many of Reed’s tracks is an overwhelming side of darkness and moodiness, as evidenced in standouts like “American Psycho,” colored with Kid Cudi-esque riffs and effects and the Linkin Park-feeling “Countdown,” complete with riveting keys and a haunting arrangement. “Ricochet” carries the theme along as well as on “Throw You the Rope” which features a guest performance from Johnny Pacar.

Yet, all is not epic and moody with Reed as he ably displays throughout the rest of the recording. The title track is an appropriately sunny, driving track that begs airplay on a hot summer afternoon, windows down, as you drive to the beach, while “Something Missing,” featuring The Mowglis, is another bright ray of sunshine, the communal chorus lines bringing a distinctly indie feel to the proceedings while incessant piano tones plunge things forward. “Rocketship” pushes ahead with positive lyrics and a driving bass drum kicking throughout as “Lights Come On,” which showcases Lauren Mayhew, is a pop driven track that lets Reed showcase his skills as an arranger.

The keyboards play a role once again in the multilayered “Can’t Downplay (Going Home)”, accented by a catchy percussion arrangement and “So You Know,” which finds Reed drawing help from Drew Seeley, is another worthwhile listen, Reed’s synth fills meeting with the percussion notes nicely and forming a great gumbo of sound.

Jenson Reed? You might not know him now but, mark this reviewer’s words, you soon will. The Left Coast is a great record and it’s only a matter of time before this young artist is rocking the charts hard. Reed’s about to blow up and we’ll be glad to say that we knew him when.